Josie Walker | Bouquets & Brickbats

04/01/25

Amazon Prime

Kneecap, a semi-fictionalised origin story for the titular Irish hip hop band, only had a short theatrical release, despite winning big at Sundance and being shortlisted for two Oscars. We missed it on the big screen, so we are pleased to discover that it has dropped, with barely a splash, onto Amazon Prime.

Liam (Liam Ó Hanneadh) and Naoise (Naoise Ó Cairealláin) are two disaffected teenagers, living in the Gaeltacht (or Irish-speaking) Quarter of West Belfast. At a drug-fuelled party, Liam is picked up by the police and brought into an interrogation room but, true to his father Arlo’s teaching, he refuses to speak any language but his native tongue. Arlo (Michael Fassbender) is a former republican paramilitary, who has been missing-presumed-dead for a decade.

A call for an interpreter is put out and mild-mannered music teacher JJ O’ Dochartaigh reluctantly does the honours but, since the cops can only speak English, JJ and Liam are able run rings around them and report back only a fraction of what they actually say. JJ ends up in possession of Liam’s notebook, which he discovers is full of potential lyrics. By lucky coincidence, JJ just happens to be the proud owner of a ramshackle recording studio in his garage.

He suggests that Liam and Noise might like to lay down some tracks – and, almost before they know it, the three of them are performing in a local working man’s club, stoned to the gizzards on Ketamine with JJ wearing a balaclava in case anybody recognises him. But when a barmaid films a clip of their performance and puts it onto social media, it isn’t long before their foul-mouthed, blatantly political act is reaching the ears of a younger audience…

Kneecap (named after the IRA’s favourite punishment) is a ton of fun, quirky, acerbic and fearlessly provocative, but it does have a more serious subtext about the cultural importance of a country’s native tongue and how it needs to be celebrated and protected. Debut writer/director Richard Peppiatt has created a genuinely funny script, brimming with snarky one-liners, and I love the many comic-book captions and images that pepper the visual storytelling. The three band members do a pretty good job of portraying themselves, while Simone Kirby puts in a great performance as Liam’s agoraphobic mum, Dolores, and Josie Walker is deliciously menacing as local police chief Detective Ellis, enraged when she discovers that her Protestant niece, Georgia (Jessica Reynolds), is having a fling with Naoise – a Catholic!

The songs are mostly an outpouring of curses and boasts, propelled by urgent 4/4 rhythms. I don’t speak Irish, so I’m very grateful for the subtitles (the script is a 50/50 mix of Irish and English), but it’s clear from the concert sequences that Kneecap have already established a fervent following on their home turf and this film is sure to bring their music to a wider audience.

Interested? Head straight to Amazon where the party can be joined at the touch of a button.

4.2 stars

Philip Caveney

19/11/22

Netflix

Emma Donoghue’s The Wonder is a little jewel of a novel, a bleak tale seen entirely through the eyes of its main protagonist, Lib. Because the original story is so insular, I wondered if it would be a suitable subject for a film, but director Sebastián Lelio (who co-write the screenplay with Alice Birch) has done a creditable job of opening up the original vision, even throwing in some post-modernist flourishes to accentuate the artifice of the situation. The opening scene depicts a contemporary film studio, complete with lighting rigs and other equipment before the camera pans right and zooms in to the hold of a nineteenth century sailing ship, where Lib (Florence Pugh) is eating a meal. From the very beginning, Leilio seems to be warning us not take everything we see on face value. The Wonder, after all, is also a story of deception.

It’s 1862 and English nurse Lib Wright has been summoned to a remote Irish village to stand watch over the Wonder of the title – eleven year old old Anna O’ Donnell (Kila Lord Cassiday), who, it is claimed, has not eaten a morsel of food in four months and yet remains in apparently perfect health. Lib is understandably sceptical, but the local clergy, led by father Thaddeus (Ciarán Hinds), are keen to claim this as a bona fide miracle, a feather in the cap of the Catholic church. Dr McBrierty (Toby Jones), on the other hand, prefers to see Anna as some bizarre new mutation. Has she developed the ability to photsynthesise? Lib’s task will be to keep a close watch on Anna around the clock, alternating shifts with a nun, Sister Michael (Josie Walker), so that – if there is any secret feeding going on – it will soon come to light.

Lib’s suspicions are shared by newspaper journalist Will Byrne (Tom Burke), who has been despatched to his old stamping ground to investigate the claims, but the truth behind these ‘saintly’ events is well hidden and hard to root out…

The Wonder makes a successful transition from novel to film, largely because of Pugh’s sterling performance in the lead role, as well as through Ari Wegner’s moody cinematography, which somehow contrives to make every frame look like the work of a classic artist – Jan Vermeer perhaps, or Caravaggio. There are also a few moments where Anna’s older sister, Kitty (Niamh Algar), who also serves as the story’s narrator, breaks the fourth wall and addresses the viewer directly. Some may find these touches intrusive but, for me, they are so effective they have me wishing there were more of them and that Algar had a little more to do in the story – she’s a superb actor and this is little more than a supporting role.

Donoghue’s source novel, a scathing criticism of the Catholic faith and the gullibility of its followers, emerges intact – and those who anticipate a headlong plunge into despair should take heart. The film’s conclusion is more positive than you might expect.

4 Stars

Philip Caveney